How to Create a Resume

Post pobrano z: How to Create a Resume

If applying for that dream job is on your to-do list this year, you’ll want to dust off your resume and give it a refresh. The design of your resume is, some would argue, just as important as the content, and especially if you’re applying for a creative role, the layout and typography can speak volumes about your professional prowess. 

Here I’ll break down the key building blocks of a perfectly tuned resume design. The sample resume design pictured here would make a great application for a graphic or web designer, but you’ll find you can apply the same key design techniques to other job applications and always end up with a resume that will showcase your credentials in their best light.

final resumes

Read on to find out how to make an employer go ‘Oooh!’ when they open up your application envelope.

Looking for a cool resume but not sure where to get started? Check out the easy-to-edit resume templates on GraphicRiver and Envato Elements

1. Standard Page Sizing

This may not be the most exciting thing to think about when designing your spectacular resume, but page size is absolutely key to guaranteeing your resume gets circulated around the office.

There is absolutely nothing more off-putting than a resume that’s been designed on a non-standard page size. If your resume’s too big, your potential employer might struggle to fit it in their photocopier or scanner. Too small? It’s not going to look good when photocopied onto a sheet of A4 (plus don’t even get me onto the eye-wincingly small font size—see Tip 4, below). 

If you’re designing your resume in a design program like InDesign or Photoshop, make sure to set the document or canvas to a widely accepted standard page size. That’s Letter (215.9 x 279.4 mm) if you’re in the US, or widely accepted A4 (210 × 297 mm) if you’re in Europe or Australia. 

In Adobe InDesign, you can select Letter or A4 from the Page Size drop-down menu when you go to File > New > Document.

letter

If you’re going to design your resume with color or details that extend past the trim edge of the page, you should also bear in mind from the beginning that you will need to have your resume professionally printed. To prepare for this at the document setup stage, you should make sure to add a Bleed around the edges of the page, which will minimize the visual impact of any slight trimming errors. A Bleed Width between 3 and 5 mm will do the trick. 

bleed

2. A Strong Grid Layout 

Once you have your basic document ready, you can get started with designing the layout of your resume. You have to be able to fit quite a large amount of information on a single page, including your name and contact details, previous job titles and descriptions, qualifications, and other details that might be relevant to the role, such as software proficiency and languages. 

Before you even begin designing, take a look at the older version of your resume and try to assess if there’s any information that could be trimmed down. For example, you could try editing job descriptions down to a sentence or two.

Once you’ve done a bit of copy editing with your text content, you will need to work out how to fit the remaining text on the page. 

If you’re working in a simple word-processing application like Word or Pages, the temptation is to place all your content into one continuous column of text. 

For many reasons, this is not the best route to take. For one, this doesn’t make the most of the space you have available on the page. You may well find that using this technique forces you to flow text onto a second page, which immediately brings up the disadvantage of the interviewer not noticing this second page of text (they are busy people, after all) when they are sifting through a mass of applications. 

By restricting your text to just one column on the page, you are also limiting the potential visual interest of the page. Breaking your text into a couple of columns is a great way of keeping the eye engaged, as it moves back and forth from one column to the next.

With this in mind, you need to establish a strong grid layout for your page, which will help guide the eye over the information and give the resume both visual interest and a natural hierarchy, leading the reader from one section of information to the next.

grid

I think this is a great failsafe grid for a resume. You’ll see this grid layout repeated in subtle variations across many professionally designed CVs.

Let’s look at how to recreate it. 

First, you’ll notice that this grid is bottom heavy, with over two-thirds of the lower part of the page set aside for text information. At the top of the layout, the grid allows a decent amount of space for a header, which can be colored or filled with an image, and, most importantly, will showcase your name. This instantly makes your name the most visually arresting element on the page, which is essential for building memorability with the employer.

top heavy grid

The grid is split into two columns of unequal width, which adds an element of asymmetry and visual interest to the layout. The left column is narrow, punchy and easy to digest, which makes it perfect for placing those vital pieces of information that can translate to an interview, such as your photo, contact details, and bio.

columns

The grid is ultimately simple in its design, allowing for a clear hierarchy of information to be read, starting with the name header at the top, followed by the key information in the left-hand column, and ending with the meatier details of your credentials in the right-hand column. 

grid hierarchy

I’m not saying this is the only grid layout that works for resumes—explore other great resume designs online and you’ll find other variations on a grid design. But in general it’s safe to say that this three-part grid, which is then divided further into rectangular sections, is a failsafe technique for creating an easy-to-read, visually engaging page. 

3. A Bit of Breathing Space

Put yourself into the reader’s shoes—after sifting through dozens of resumes, would you want to be faced with an overcrowded page? Nope, what you’d really like to see is a calming, balanced page which puts you in a really good mood for reading the content.

It can be seriously tempting to cram that one-page resume with everything you’ve ever done… ever! But don’t fall into the trap of showcasing everything about what you’ve done—after all, you’re going to want to hold some things back for the interview stage. Allow the very best of what you’ve done to shine on the page. 

In terms of the design of the resume, this is also a wise move. Less text content means you can afford to have more white space on the page, promoting a sense of calm and serenity. This will not only make the page look much more attractive, but it will also make the reader feel more at ease. A minimal resume design makes you appear confident and self-assured, which communicates to the interviewer that you’ll be a well-organized and decisive member of their team. 

margins on page

As well as generous portions of white space, you should also allow for wide margins on your resume, which always look much nicer than tight, restricted margins. You can set up wide margins from the New Document window in InDesign, or head up to Layout > Margins and Columns at the top of the workspace to tweak your margins while you work. 

new document margin width

4. A Professional, Legible Font

Good typography is the backbone of a well-designed CV, but it’s easy to get carried away. Even though there are now thousands of commercially free fonts available online for download, you should think long and hard before picking a novelty typeface for use on your resume design. 

Tried-and-tested fonts which have stood the test of time have done so for a reason—they are legible and attractive at any size, whether in headers or body text, which makes for an altogether pleasant reading experience. 

Whether you opt for a more traditional serif or a cleaner sans serif will also depend on the type of role you are applying for (applicants for more senior roles can command respect and authority with a solid serif, for example) and the culture of the company. Applying to a trendy young start-up? A contemporary sans serif like Charlevoix Pro will look youthful and forward-thinking. 

charlevoix pro

Going for a business with a more formal structure? A humanist serif like Garamond is both attractive and communicates that you’ll mesh well with the existing company culture.

Other fonts that are failsafe picks for beautiful resume typography are: 

Serifs

Sans Serifs

If you’re applying for a job in a creative industry, you should be aware that your future employer will know their Garamond from their Caslon! Creative employers will be interested in seeing which font you’ve chosen, and they’ll make judgements about your design knowledge and taste from this seemingly minor feature. That means avoid Comic Sans like the plague, and perhaps opt for a typeface which is a design classic for maximum brownie points.

In InDesign you can adjust the Font and Font Weight (e.g. Bold, Italic, etc.) from either the Character Formatting Controls panel at the top of the workspace when you have the Type Tool (T) selected, or from the Character panel (Window > Type & Tables > Character).

font menu

5. Introduce a Typographic Hierarchy

Hierarchy is a key typographic technique for designing any layout, whether it be a webpage, a poster or a business card. The idea is that you create a graduated hierarchy of type on the page, leading the eye to read items in order, and splitting up sections into manageable chunks. 

To create a basic typographic hierarchy on your resume, you will need a basic trio of type styles, made up of heading, sub-heading, and body text styles. The main element you need to tweak is the Font Size, which you can adjust from the Character Formatting Controls panel in InDesign. Graduate the size down from larger for the header (your name at the top), medium for the sub-headings (e.g. ‘Education’), and small (between 10 and 11 pt) for the body text. 

text hierarchy

Next, work on bringing in some different weights to the trio. A heftier Bold or Black weight will suit a header, while a Bold or Bold Italic will help your sub-headings to stand-out. Stick with a Regular weight for body text, and avoid Light weights altogether, as these can be difficult to read in print. 

header

Then look at bringing in extra formatting to further differentiate the styles. Setting headers and sub-headings in uppercase letters (in InDesign, click on the All Caps button in the Character Formatting Controls panel), as well as increasing the Tracking (space between all letters) is a subtle way to make your headings look more professional and clear to read. 

Consider also the alignment of your text. Is all your text by default flushed left? Tweaking a heading or sub-heading to Align Center can make a huge difference to the layout, adding more interest and balancing out the left-leaning bulk of text. 

6. An Attention-Grabbing Name

What’s in a name? Well, if you’re a time-stretched interviewer, it can certainly mean a lot. Because you’re not able to present yourself in person at the resume review stage, it’s important that the CV works hard to make your name lasting and memorable. 

You should prioritize your name on the page, and make sure it is the single most dominant element on the layout. You can do this without setting your name in a WordArt-style font, and instead maintaining a simple, classic type style. 

The secret to memorability is all in the staging. Allow your name plenty of breathing space at the top of the page. This forces the eye to digest that information alone, without being distracted by other content. 

Aligning your name centrally is also a good technique for making your name the focal point of the layout, standing to attention at the top of the page. These two techniques also ensure that your name is easily found when the interviewer wants to refer to you quickly and easily in a meeting environment. 

Choice of typeface can also help to make your name stand out, and help to build a sort of personal brand at the same time. Styling your name consistently across other parts of your application, such as your cover letter, business card, and portfolio website, will help to reinforce memorability and make a showcase of your knack for branding design too.

script name

A script or handwritten font is also a lovely way of styling your name that mimics the look of a signature in a more legible way, making your resume appear at once more personal and warm. Here, I’ve used Learning Curve Pro, but Vellesa or Sharpen Script make great alternatives. 

7. A Natural Photo

In recent years, applicants looking to stand out amongst their competitors have turned to using a portrait photo on their resumes. For some industries this can feel a little informal, but for creative companies like graphic design and web design agencies, a well-chosen photo can be a great finishing touch to a CV. Photos help you to build a personal relationship with the reader, and have the benefit of making you more memorable. 

photo on resume

Having said that, some photos are simply not OK to use. Abandon that Facebook picture from last year’s summer holiday, and stage a professional-style shoot instead. Ask a trusted camera-savvy friend or hire a photographer to take some shots in a studio environment (or simply standing against a blank wall will do). 

Natural, confident shots look best, so try to relax and picture how you would like your employer to view you. You want to look friendly but not hyper! If you’re struggling to relax, fold your arms in front of you and lift your shoulders back, which will immediately make you feel more confident and improve your posture. 

Once you have your perfect shot, upload it to your computer and open the image up in Adobe Photoshop. Here’s my simple step-by-step process for editing your photo to get it ready to use in your resume design:

Step 1

Expand the Layers panel (Window > Layers) and drag the Background layer down onto the Create a New Layer button at the bottom of the panel to duplicate the layer.

background

Step 2

From the Create a New Adjustment Layer drop-down menu in the Layers panel, choose Black & White.

black and white

You can move the sliders around until you’re happy with the result. Try to keep the area of the face nice and bright. When you’re finished, you can close the Properties window. 

properties

Step 3

Use the Crop Tool (C) to pull the edges of the image in, until you have just the shoulders and head of the person remaining, and then hit Enter.

crop tool

File > Save As the image as a JPEG file, ready to be placed into your resume document.

cropped image

A black and white photo is a great choice for a resume, as it won’t distract from the color scheme of your design and always looks exceptionally professional compared to a full-color portrait. 

Place your photo inside a circular or shaped image frame to give it a bit of interest and prevent it from looking just ‘stuck on’ to the page.

8. A Dash of Infographics

Infographics have officially taken over the design world, successfully bridging the gap between data and visual design. If you’re applying for a design or tech role, no doubt the company will have dabbled in or be familiar with infographics, which makes them a great talking point for your resume. 

Bring in subtle infographic references by using app-inspired icons in your contact details. You can download vector icons from flaticon.com. Open them in Adobe Illustrator, and Edit > Copy, Edit > Paste them directly into your InDesign layout. You can adjust the color and size of your icons directly from here.

icons

Extra infographic details like flags or maps to illustrate language proficiency, or charts to visualise your level of skill relating to certain software, are fantastic ways of breaking up the monotony of text on your resume. Your interviewer will appreciate both your ingenious way of presenting information and the relevance the style has to the company’s projects and interests. 

charts

Simple chart bars and arrows are easy to create in InDesign directly, by using the shape tools. Check out this infographics tutorial to find out more about creating simple infographic elements in InDesign:

9. Build a Whole Resume Package

Once you’ve finished up your resume and incorporated some of the elements and tips we’ve looked at in this article, it should be looking fabulous and ready for printing or sending off over email.

But wait up… there’s one more thing to consider before you hastily hit the Send button. More and more agencies are looking for something extra-special in applications, to help prioritise candidates who demonstrate creativity in their resume as well as their portfolio. A great way of making your application extra-special is to expand it into a complete resume package. 

A cover letter is a traditional part of a job application, but think about how you can extend the design of the resume across to the letter too. Can you lift the style of your name and turn that into a personal logo, creating an interesting letterhead design? 

letterhead design

Can you extend the style across to a business card too? 

If you want to go that one step further, you can even create a digital version of your application which combines your CV, portfolio, and extra elements like video content. You can use your print application as a stepping stone to a more detailed digital application, which you direct the employer to visit in your cover letter. 

Creating a complete resume package really does show you are willing to go the extra mile with your application, which tells the employer that you really want to work for them and also demonstrates how you would approach projects when working for them. It may sound like a lot of work, but if you really want that dream creative job, you won’t regret putting in the extra effort.

Conclusion: You’re Ready to Send Off Your Application!

With your awesome resume ready to print or send off on email, you’ve done a fantastic job. Fingers crossed for getting to the interview stage! 

In this article we’ve looked at nine top tips for designing a fantastic-looking resume. Let’s take a quick recap:

  1. Set your resume to a widely accepted (and cheap to post!) standard page size, like Letter or A4.
  2. Create a strong grid layout for your resume.
  3. Allow for generous white space and wide margins to create a balanced, calming layout.
  4. Use a professional and, above all else, legible font.
  5. Introduce a typographic hierarchy to lead the reader from A to B.
  6. Format your name to make it the centre of attention on the layout.
  7. Use a natural, confident portrait photo, and keep it black and white for extra brownie points.
  8. Experiment with infographic-inspired elements like icons and charts to add a playful touch.
  9. Build a whole resume package, including a branded cover letter, business card and online application to really blow the socks off your employer.

Stick to these nine helpful tips whenever you want to give your resume a refresh and you really can’t go wrong. Have some of your own tips for designing great job applications? We’d love to hear about them in the comments below.

Want an awesome resume but still unsure about where to start? Check out the huge range of stylish resume templates on GraphicRiver and Envato Elements.  

final cv

40 Typography Based Logos

Post pobrano z: 40 Typography Based Logos

Typography is defined as “the art or process of printing with type” (Dictionary.com). It truly is an art and can be the difference between success and failure. For example, logo typography is all about appealing to your target market in the form of letters and type. A certain style of typography can either attract or repel that target market, so selecting the appropriate typography is crucial.

I’ve gone ahead and put together a collection of 40 typography logos for your inspiration. Enjoy!

Credit to respective artists.








































Conclusion

I hope that you’ve enjoyed this weeks logo design roundup! But even more importantly, I hope that you’ve been able to find some inspiration for your next logo project. Remember, typography is an art that can be the difference between a logo’s success and failure.

Thanks for stopping by!


Chevrolet: How Can I Help?

Post pobrano z: Chevrolet: How Can I Help?

Online
Chevrolet

In Women’s Month, Publicis Salles Chemistri created a campaign for Chevrolet that encourages the public to thank for all the help they receive from the special women in their lives.

Advertising Agency:Publicis Salles Chemistri, Sao Paulo, Brazil
Creative Director:Hugo Rodrigues, Domenico Massareto, Luis Felipe Figueiredo
Art Director:Flávio Toscano
Copywriter:Rodolfo Monteiro
Photographer:Léo Kawabe
Head Of Art:Marie Julie Gerbauld
Accounting Mananger:Marcos Vinicio, Vinícius Zuñiga, Stefany Soria
Planning:Eduardo Lorenzi, Bibiana Lopez, Bruno Midea
Media:Miriam Shirley, Silvia Tajiki, Erica Cappellano, Marco Iadocico, Thais Marques
Traffic:Rose Ramalho
Rtv:Tato Bono, Dani Toda, Cayan Lobo
Producer:Trust Filmes
Film Director:Levi Riera
Finnisher:Leandro Torres
Sound Producer:Comando S
Client Approval:Renato Heiffig, Aline Aquilino

Text Effects with CSS (and a little contenteditable trick)

Post pobrano z: Text Effects with CSS (and a little contenteditable trick)

Mandy Michael has been creating some incredible text effects with just the power of CSS. She uses every trick in the book: gradients, transforms, pseudo elements, shadows, and clipping paths to name a few. They are all real web text too. Custom fonts typically, but no images, canvas, or SVG or anything like that.

Take a look at this beautiful effect:

See the Pen CSS only 3D paper fold text effect by Mandy Michael (@mandymichael) on CodePen.

The fact that it is real text makes it accessible, searchable, and of course, selectable:

Demos are an awesome place to use the contenteditable attribute, which turns any text element into sort of like a textarea or input, in that then anyone can click right into it and change the text.

<h1 contenteditable>Cool Title</h1>

But because many of Mandy’s demos use pseudo elements with text that needs to match the text in the element itself, the text can get out-of-sync:

Never fear! It’s just a few lines of JavaScript to keep those bits of text in sync:

var h1 = document.querySelector("h1");

h1.addEventListener("input", function() {
  this.setAttribute("data-heading", this.innerText);
});

The input event is real handy, as it covers any change in an element’s value, even contenteditable elements. It has decent browser support, just no IE (Edge is fine). If you really needed this for IE, you could still get it done combining events like keyup, paste, and blur and stuff. But you probably don’t need to for a little thing like this.

Now we’re all good:

But before we go, let’s bask in more of Mandy’s creations:

See the Pen Lines and layered css text effects by Mandy Michael (@mandymichael) on CodePen.

See the Pen Stripy Rainbow Text Effect by Mandy Michael (@mandymichael) on CodePen.

See the Pen Single element, multi coloured 3d text effect by Mandy Michael (@mandymichael) on CodePen.

See the Pen Split fractured text by Mandy Michael (@mandymichael) on CodePen.


Text Effects with CSS (and a little contenteditable trick) is a post from CSS-Tricks

Zeroing the Desk

Post pobrano z: Zeroing the Desk

Brendan Dawes:

After a recording session on one of those large mixing desks, after you’ve twiddled countless knobs and push around many faders you do something called zeroing the desk. This is were you turn every control and push every fader back to zero, so that when the next engineer comes in he or she isn’t going to jump out of their seat when a large sub-bass whacks them straight in the face and possibly blows something up. It’s a polite thing to do for your fellow sound engineer.

Reminds me of all: unset; 😉

(via Brad Frost)

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Zeroing the Desk is a post from CSS-Tricks

The Next Smashing Magazine

Post pobrano z: The Next Smashing Magazine

Congrats to the big team over there assembled to take on this major redesign process. Unlike our redesigns around here that are usually more like realignments with minor dev work and UX sprinkles each iteration, this was a ground-up rebuild for them. They migrated a bunch of different platforms all into one, a static-site based system with all front end APIs. It’s gotta feel good to pull all that stuff into one system. I remember when I used to have four different systems around here (WordPress, Forums (various), eCommerce (various), and some raw PHP stuff) and the good feeling it was to get it all yanked in under one WordPress roof.

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The Next Smashing Magazine is a post from CSS-Tricks

INCA Routine Check for colorectal cancer

Post pobrano z: INCA Routine Check for colorectal cancer

The French National Institute for Cancer (INCA; l’institut national du cancer) is running a film-noir themed commercial, Un Contrôle de Routine (Routine Check), as part of Mars Bleu, a month focused on colorectal cancer. Although colon cancer is the second most deadly cancer in France with 18,000 deaths a year, it goes largely unacknowledged. With a 1950s detective film style and clunky sound effects, the black and white and studio-shot film presents colorectal cancer as a serial killer hurrying through the night down a deserted road where seemingly nothing is able to stop him. That is, until a simple routine check puts an end to his flight. The Routine Check film encourages men and women over the age of 50 to go for a check-up, as if the cancer is detected, in 9 out of 10 cases it can be cured.

INCA Routine Check

English translation

Because he works in the shadows
Because he knows how to lie low
Because nobody wants to hear about him
Colorectal cancer kills over 18,000 people per year
Whereas with a simple check up
9 out of 10 times, it’s curable.
Colorectal cancer. Detected in time, your life can be saved.
If you are 50 or over, talk to your doctor.

Routine Check Credits

The Routine Control campaign was developed at Havas Paris by creative director Christophe Coffre, copywriter Mathieu Doligé, art director Céline Pottier, designer David Bersanetti, partner Lucie Munsch, board director Marine Biette, consultant Marie Fontan, design editor agency Mathieu Doligé, producer Amandine Winter, account manager Christine Meneux working with INCA communication director Carine Delrieu, adjunct communication director Muriel Papin, and communication project chief Lydia Dauzet.

Filming was shot by director Wilfrid Brimo via Henry de Czar with executive producers Jean-Luc Bergeron and Jean Ozannat, director of photography Daniel Voldheim, and line producer Gaëlle Delaporte.

Visual art and set design was done at Family Production by David Bersanetti.

Post production was done at Digital District by producer Sébastien Gros.

Music and sound design were produced at HRCLS by producer Benoît Dunaigre.

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